Best AVI export settings for a XDCAM EX 1080i60 35VBR FCP timeline

I've editted a couple of XDCAM EX 1080i60 35VBR timelines in Final Cut Pro. The dimensions of the source footage and timeline sequence settings are 1920 x 1080 XDCAM EX 1080i60 35VBR.
They will be used at a large conference center and the client has asked me to delivery HD AVI files.
So far, everytime I export an AVI file from either the FCP timelines, or HD Quicktime XDCAM EX 1080i60 35VBR composites that I've made from the timeline, the AVI file that results is either alot smaller than the 1920 x 1080 quicktime file and/or pixelated to some degree, and not as clean as the HD quicktime.
I have very little experience with AVI and was hoping someone could suggest appropriate export settings. As I said, the client only indicated they want AVI files, and that their equipment can display HD files.
So I'm trying to maintain the quality of the original and editted footage.
I'd like to work with the tools and export options available within FCP7 (FCS3) and quicktime, as opposed to having to purchase some AVI transcoder, but I guess I'd be open to that if I had to otherwise take a huge quality hit.
Thank you in advance for any assistance.

I'd like to work with the tools and export options available within FCP7 (FCS3) and quicktime, as opposed to having to purchase some AVI transcoder
As far as I know there are no tools/export options within FCP7 (FCS3) and/or Quicktime to do what you probably want to do (compressed HD AVI export). But if a fully uncompressed 1920x1080 AVI export is ok for you / your client then you can use Export > Quicktime Conversion, set the Format to AVI and change the Options >> Video >> Settings >> Compression type to "None" ... bear in mind that this will produce some pretty big exports file size wise (about 6-7 GB per minute).
Or instead, you can download and use MPEG Streamclip. Open your HD Quicktime XDCAM EX 1080i60 35VBR composites into MPEG Streamclip and choose File > Export to AVI ... then in the AVI Exporter window you can +choose the codec+ you need and press the "Make AVI" button (leave the settings at default, especially Frame Size which should be "unscaled"). Note that AVI is just a wrapper, not a codec. Make sure you chose an HD capable codec that your client can handle (it's unlikely that they will be able to play back any Apple XDCAM EX variant, or indeed any codec that starts with "Apple").
Or just send them an unscaled H264 test file and see how they get on with that (and you can export H264 from FCP, Compressor, Quicktime and/or MPEG Streamclip). It's scalable (handles any resolution including HD) and is pretty much universally supported delivery codec. I'd expect your client would be happy to accept it if you explain that the format will offer the quality the need.
However you proceed I'd strongly recommend you send the client a few test encodes first to have them confirm that they can indeed read / handle your encodes correctly.
Hope it helps
Andy

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Best HD export settings for YouTube

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Any other input for this topic?
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t_hall10 wrote:
The information provided was helpful, but did not completely answer my question...
Are there specific settings with-in Aperture I can set for exporting so that clients have the ability to print as wanted and post on the web as wanted whithout losing any major amount of photo quality?
No, not for one size fits all.
I do appreciate this may be a frustrating answer, but non-the-less, that's how it is.
t_hall10 wrote:
Should I be gving 2 folders of pictures, one for web use and one for printing use? If I were to do that, what should the exporting setting be set for both folders?
Maybe, it's your choice.
Let's go through the settings.
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A 16MP images on quality 12 will be about 22MB. 11 brings it down to 8MB and 10 down to 7MB. You'd be very hard pressed to see the difference between a 12 and a 10. But if you want to feel you are giving the best quality without the extreme file size, go for 11.
The the vast majority of web sites, like facebook, will either resize uploaded images and/or re-compress them. They may also crop them to a different aspect ratio to fit their browser software.
Many report the best size for upload to facebook, for small images is 960 pixels on the long side. For large images it's 2048. For different websites it may be different. It is discussed on many photography sites and blogs. You will find some promoting the 960 / 2048, and others with their own preferences. Here's a good one which also shows you many ways FB will mess with the images:
http://havecamerawilltravel.com/photographer/images-photos-facebook-sizes-dimens ions-types
The safest colour space is sRGB (Mac profile: sRGB IEC61966-2.1) as it will more often be right than wrong. You should preview your images on screen with this profile to get a feel for how it will look and avoid unexpected colour shifts in your files. Ideally your screen should be calibrated so you know what you are giving them is accurate.
To understand the printing issue, try this exercise:
If you have a printer installed on your Mac, it probably also installed some printer profiles. In Aperture, look at one of your nicer vibrant images. From the view menu turn on 'Onscreen Proofing' and then from the 'Proofing Profile' sub menu, select one of your printer profiles and look at how the onscreen image changes. Repeat with each of the printing profiles and see how the image changes each time.
This is only a fraction of the colour shifts that will be occuring after you give your file to someone and they print it on their own uncalibrated system with their uncalibrated printer.
Many photographers don't offer full size images to their clients. They will usually give them smaller versions for their own use, which may include small size printing.
They will either do the main printing themself on their own calibrated printer, or work with a print shop, and may have installed calibrated profiles on their system for the shops printing equipment so they can use onscreen proofing to gauge what the pictures will look like when printed on that equipment.
But if you are just giving a file to someone, you lose all control of how they will print it. Even experienced photographers and computer users can struggle to make the prints match close to what they look like on screen.
Most often photos will appear too dark, or the colours look wrong, or it lacks sharpness. There are some settings on the export presets for gamma and blackpoint compensation. Gamma will brighten the image for when it's printing too dark, and blackpoint will try to stop the shadows turning black (within the chosen colour space). But as you don't know in advance whether the images are going to print too dark, or the shadows are turning black, you can't really set these for a one-size fits all scenario.
So there are not many settings to help you here.
You are actually moving into the realm of defining your product. You could, for example, ask the client which site they intend to publish the photos on, research that site and produce files optimized specifically for that site.
You also need to decide what size (resolution) files to give them for printing and whether you are happy giving away your full size images.
These choices will lead you to a number of a different files sizes as 'your product', all should be in sRGB colour space, and all with quality 10 or 11. For any client's who know how to make use of a wider clour space like Adobe RGB for printing, they will probably ask you up front to supply the print versions as such.
Next, for each size and usage, you now need to sharpen these images.
This is because sharpeing is best applied to images that have been resized to their intended output size and should be sharpened in accordance with how they will be viewed. Images displayed on computer screen generally need less sharpening than those that will be printed. Depening on the printer, the images may need some oversharpening in the file, in order to appear crisp and sharp in the print. As you won't be controlling the printing process you should probably avoid oversharpening. The bottom line is, if people are taking on the task of their own printing, they'll need to figure out what they are doing to get good results, or use a commercial printer.
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Toby
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ATR Premiere Elements Troubleshooting: PE11: Accuracy of Automatic Project Preset (New Project Dialog) Setting
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Hey all,
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Best Export Settings For Fast/Low-Res QuickTime Movies

I couldn't find a discussion room for FCP 7 so I figured if anybody is proficiant with FCP X, they could help me.
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Message was edited by: prepstein

Try here
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What are the best export settings for a HD video in Premier Pro CS4?

Hi!
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http://forums.adobe.com/thread/713070
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It Stands for "Coder Decoder."
Your format is like a container for your video file. Certain containers can hold certain codecs and not others. Other containers can hold other codecs. Sometimes different containers can hold the same codecs.
This might be a bad analogy but I'll give it a try.
A coffe cup (container) can hold pretty much any liquid you drink, where a red solo cup (container) won't hold scolding water. So, the coffe cup would be your container of choice most likely because it has the most options for liquids (codecs). But, you might want a red solo cup for just a single crappy beer at a party (a moderate quality streaming video on the web). In that case, you don't need all the optoins of another container.
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http://goo.gl/8GZq4i

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http://eugenia.gnomefiles.org/2007/12/08/exporting-with-adobe-premiere-in-720p/
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